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William Farley Smith

1941 - 1997 Hymnal Number: 194 Adapter of "VERY SOON" in Songs for Life

1611 - 1684 Person Name: Johannes Olearius Hymnal Number: 121 Versifier of "Comfort, Comfort Now My People" in Songs for Life Johannes Olearius (b. Halle, Germany, 1611; d. Weissenfels, Germany, 1684) Born into a family of Lutheran theologians, Olearius received his education at the University of Wittenberg and later taught theology there. He was ordained a Lutheran pastor and appointed court preacher to Duke August of Sachsen-Weissenfels in Halle and later to Duke Johann Adolph in Weissenfels. Olearius wrote a commentary on the entire Bible, published various devotional books, and produced a translation of the Imitatio Christi by Thomas a Kempis. In the history of church music Olearius is mainly remembered for his hymn collection, which was widely used in Lutheran churches. Bert Polman ======================= Olearius, Johannes, son of Johann Olearius, pastor of St. Mary's Church and superintendent at Halle, was born at Halle, Sept. 17, (N.S.) 1611. He entered the University of Wittenberg in 1629 (M.A. 1632, D.D. 1643], where he became lecturer, and, in 1635, adjunct of the philosophical faculty. In 1637 he became Superintendent at Querfurt; and, in 1643, was appointed by Duke August of Sachsen-Weissenfels as his chief court preacher, and private chaplain at Halle, where he became in 1657 Kirchenrath, and in 1664 General Superintendent. When, on the death of Duke August in 1680, the administration of Magdeburg fell to the Elector of Brandenburg, Duke Johann Adolf gave Olearius similar appointments at Weissenfels, which he held till his death on April 24, 1684 (Koch, iii. 346; Allgemeine Deutsche Biographie xxiv. 279, &c). Olearius was the author of a Commentary on the whole Bible, and of various devotional works. He was also the compiler of one of the largest and most important German hymn-books of the 17th century, viz. the Geistliche Singe-Kunst, of which the first edition appeared at Leipzig in 1671, with 1207 (1218) hymns, and the second at Leipzig in 1672, with 1340. The first edition contained 302 hymns by Olearius himself, and marked "D. J. O." They may best be described as useful, being for times and seasons hitherto unprovided for, and filling up many gaps in the various sections of the German hymn-books. They are mostly short, many of only two verses, simple and easy of comprehension, often happy in expression and catching, and embodying in a concise form the leading ideas of the season or subject. Many were speedily adopted into German hymn-books, and a considerable number are still in use. Of Olearius's hymns the following have passed into English:— i. Gelobet sei der Herr. Trinity Sunday. One of his best hymns. Founded on the Gospel for Trinity Sunday. Included in 1(571 as above, No. 709, in 5 stanzas of 8 lines, and entitled "Encouragement from the Gospel to thankful meditation on this great mystery." In the Berlin Geistliche Lieder ed. 1863, No. 17. Translated as:— 1. Blest be my Lord and God. A good translation, omitting st. v. by A. T. Russell, as No. 134, in his Psalms & Hymns 1851. 2. 0 praise the Lord! His name extol. A version of st. i.-iii., as No. 115 in the Ohio Lutheran Hymnal, 1880. ii. Herr Jesu Christ, dein theures Blut. Passiontide. His finest hymn. Founded on I St. John i. 7. In 1671 as above, No. 576, in 4 stanzas of 4 lines and entitled "Meditation on the Precious Blood of Jesus Christ." St. ii. is based on the hymn “In Christi Wunden schlaf ich ein" (p. 319, ii.). In the Berlin Geistliche Lieder, edition 1863, No. 233. Translated as:— 1. Lord Jesu Christ! Thy precious blood Brings to my soul. A good and full translation by A. T. Russell, as No. 161 in his Psalms & Hymns, 1851. 2. Lord Jesus Christ! Thy precious blood Is to my soul. In full by C. H. L. Schnette, as No. 77 in the Ohio Lutheran Hymnal, 1880. Another translation is "Lord Jesus Christ, Thy blessed blood." By Miss Manington, 1863, p. 43. iii. Herr, öffhe mir die Herzensthür. Holy Scripture. After Sermon. In 1671 as above, No. 975, in 2 stanzas and a doxology. In the Berlin Geistliche Lieder, ed. 1863, No. 422. The translation in common use is:— Lord, open Thou my heart to hear, And by Thy Word to me draw near. In full by Dr. M. Loy in the Ohio Lutheran Hymnal, 1880. iv. Nun kommt das neue Kirchenjahr. Advent. In 1671 as above, No. 384, in 3 stanzas and a doxology. In the Berlin Geistliche Lieder, ed. 1863, No. 145. The translation is:— The new Church year again is come. By E. Cronenwett, as No. 15 in the Ohio Lutheran Hymnal, l880. v. Tröstet, tröstet meine Lieben. St. John Baptist's Day. In 1671 as above, No. 733, in 4 stanzas of 8 lines, and entitled "Meditation on the Lesson of the Festival. Isaiah xl." In the Berlin Geistliche Lieder, ed. 1863, No. 124. Translated as:— Comfort, comfort ye my people. A full and good translation by Miss Winkworth, as No. 83 in her Chorale Book for England, 1863. Repeated in full in the Parish Hymn Book, 1865, and the Ohio Lutheran Hymnal, 1880, and, omitting st. ii. in the Pennsylvania Lutheran Church Book, 1868. Other hymns by Olearius have been translated into English, viz.:— vi. Gott Lob, mein Jesus macht mich rein. Presentation in the Temple. In 1671 as above, No. 507, as a hymn on the Purification in 6 stanzas, and entitled "Encouragement from the Gospel," viz. St. Luke ii. 22-32. In the Berlin Geistliche Lieder, ed. 1863, No. 1270. The form tr. is "Durch Jesum kann ich auch mit Freud," which is No. 428 in Knapp's Evangelischer Liederschatz, 1837, and is st. iv.-vi. altered. Translated as "I too, through Jesus, may in peace." By Dr. H. Mills, 1845 (1856, p. 277). vii. Sollt ich meinem Gott nicht trauen. Trust in God. In 1671 as above, No. 878, in 6 stanzas, and entitled “Encouragement from the Gospel," viz. St. Matt. vi. 24 ff, the Gospel for the 15th Sunday after Trinity. In the Berlin Geistliche Lieder, ed. 1863, No. 857. Tr. as, "Shall I not trust my God." By Miss Warner, 1858, p. 206. viii. Wenn dich Unglüick hat betreten. Cross and Consolation. In 1671 as above, No. 827, in 6 st., and entitled "Encouragement from the Gospel," viz. St. Matt. xv. 21-28, the Gospel for Reminiscere Sunday (2nd Sunday in Lent). In Porst's Gesang-Buch, ed. 1855, No. 997. The translations are (1) "When afflictions sore oppress you." By Miss Cox, 1841, p. 129. (2) "When affliction rends the heart." By Lady E. Fortescue, 1843, p. 55. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Martin Rinkart

1586 - 1649 Person Name: Martin Rinckart Hymnal Number: 33 Author of "Now Thank We All Our God" in Songs for Life Rinkart, Martin, son of Georg Rinkart or Rinckart, cooper at Eilenburg on the Mulde, Saxony, was born at Eilenburg, April 23, 1586.* After passing through the Latin school at Eilenburg, he became, in Nov., 1601, a foundation scholar and chorister of the St. Thomas's School at Leipzig. This scholarship also allowed him to proceed to the University of Leipzig, where he matriculated for the summer session of 1602, as a student of Theology; and after the completion of his course he remained for some time in Leipzig (he did not take his M.A. till 1616). In March 1610 he offered himself as a candidate for the post of diaconus at Eilenburg, and was presented by the Town Council, but the Superintendent refused to sanction this arrangement, nominally on the ground that Rinkart was a better musician than theologian, but really because he was unwilling to have a colleague who was a native of Eilenburg, and who appeared to have a will of his own. Rinkart, not wishing to contest the matter, applied for a vacant mastership in the gymnasium at Eisleben, and entered on his duties there in the beginning of June, 1610, as sixth master, and also cantor of the St. Nicholas Church. After holding this appointment for a few months, he became diaconus of St. Anne's Church, in the Neustadt of Eisleben, and began his work there May 28, 1611; and then became pastor at Erdeborn and Lyttichendorf (Lütjendorf), near Eisleben, entering on his duties there on Dec. 5, 1613. Finally he was invited by the Town Council of Eilenburg to become archidiaconus there, and in Nov. 1617 came into residence at Eilenburg. He died at Eilenburg, Dec. 8, 1649. A memorial tablet to his memory, affixed to the house where he lived, was unveiled at Eilenburg on Easter Monday, April 26, 1886. (Martin Rinkart’s Geistliche Lieder, ed., with a biographical introduction, and an extensive bibliography, by Heinrich Rembe and Johannes Linke, D.D., Gotha, F. A. Perthes, 1886; K. Goedeke's Grundris, vol. iii., 1887, pp. 169, 211, &c.) The greater part of Rinkart's professional life was passed amid the horrors of the Thirty Years War. Eilenburg being a walled town became a refuge for fugitives from all around, and being so overcrowded, not unnaturally suffered from pestilence and famine. During the great pestilence of 1637 the Superintendent went away for change of air, and could not be persuaded to return; and on Aug. 7 Rinkart had to officiate at the funerals of two of the town clergy and two who had had to leave their livings in the country. Rinkart thus for some time was the only clergyman in the place, and often read the service over some 40 to 50 persons a day, and in all over about 4,480. At last the refugees had to be buried in trenches without service, and during the whole epidemic some 8,000 persons died, including Rinkart's first wife, who died May 8, 1637. The next year he had an epidemic of marriages to encounter, and himself fell a victim on June 24. Immediately thereafter came a most severe famine, during which Rinkart's resources were strained to the uttermost to help his people. Twice also he saved Eilenburg from the Swedes, once in the beginning of 1637, and again in 1639 (see p. 319, i.). Unfortunately the services he rendered to the place seemed to have made those in authority the more ungrateful, and in his latter years he was much harassed by them in financial and other matters, and by the time that the long-looked-for peace came (Oct. 24, 1648) he was a worn-out and prematurely aged man. Rinkart was a voluminous writer and a good musician, but a considerable number of his books seem to have perished, and others survive only in single copies. He early began to write poetry, and was crowned as a poet apparently in 1614. Among other things he wrote a cycle of seven so-called "Comedies," or rather dramas, on the Reformation Period, suggested by the centenary of the Reformation in 1617. Three of these were printed respectively in 1613, 1618, and 1625, and two of them were acted in public. Rinkart's hymns appeared principally in the following works:— (1) Jesu Hertz-Büchlein. This was completed in 1630, and first published at Leipzig in 1636. No copy is now known. The second edition, published at Leipzig, 1663, is in the Royal Library at Hannover. (2) Der Meissnische Thränen Saat, Leipzig, 1637. In the Royal Library at Berlin. (3) xlv. Epithalami Salomoneo—Sulamitici cantica canticorum . . . Leibliche Geistliche und Uimmlische Braut Messe, Leipzig, 1642. In Wolfenbüttel Library. (4) Catechismus-wolthaten, und Catechismus-Lieder, Leipzig, 1645. In the Berlin Library. Dr. Linke, 1886, as above, gives a list of the first lines of all the hymns in the works of Rinkart which have come under his notice, and prints a selection from them, including 66 in all. The best of them are characterised by a true patriotism, a childlike devotion to God, and a firm confidence in God's mercy, and His promised help and grace. A few passed into the German hymn-books. Those which have been translated into English are:— 1. Alleluja, Lob, Preis und Ehr. This hymn… seems to be based on two hymns, beginning with the same first line, and both found in Rinkart's Braut Messe, 1642. Dr. Linke does not print the full text. (See Blätter für Hymnologie, 1886, p. 91.) ii. Nun danket alle Gott. Thanksgiving. The oldest text now accessible is in J. Crüger's Praxis, 1648, No. 183, in 3 stanzas of 8 lines; also in the Crüger-Runge Gesang-Buch, 1653, No. 187. It is also in Rinkart's Jesu Hertz-Büchlein, 1663, where the text slightly varies, and is entitled "Grace" ("Tisch-Gebetlein," i.e. a short prayer at table). There does not seem any good reason for supposing that it did not appear in the first ed., 1636, of the Hertz-Büchlein, and in any case it has no connection with the Peace of Westphalia. (A good specimen of the way in which stories of hymns are manufactured is in the Sunday at Home, Aug., 1888, p. 539, where a full and particular account is given of its legendary origin in Nov. 1648.) It is founded on Ecclesiasticus 1. 22-24; and st. i., ii. are indeed little more than a paraphrase of these verses, st. iii. being a version of the Gloria Patri. The fact that the regimental chaplains, when holding the special service of thanksgiving for the conclusion of the peace, were commanded to preach from this passage, may have suggested the theory that Rinkart's hymn was written for the same occasion. It gradually came into general use, successfully survived the period of Rationalism, and is now to be found in every German hymnbook, e.g. in the Berlin Geistliche Lieder, ed. 1863, No. 1022. It may be called the German Te Deum, and as such is used at all national festivals or special occasions of thanksgiving. It was recently used at the festal celebration of the completion of Cologne Cathedral, on Aug. 14, 1880, at the laying of the foundation stone of the new Reichstags building in Berlin, by the Emperor William, June 9, 1884, &c. The fine melody (set to the hymn in Hymns Ancient & Modern and most recent English collections) appears in the Praxis, 1648 (Crüger's Kirchenmelodien, 1649, No. 94), and in the Crüger-Runge Gesang-Buch, 1653, is marked with Crüger's initials. It has been described as adapted from a melody by Lucas Marenzo (choirmaster at Rome, who died 1598), or as adapted from a motet by Rinkart; but to prove either statement, very little evidence is forthcoming. The translations of the hymn into English are:— 1. Let all men praise the Lord. This is a tr. of st. i., iii., by Alfred Novello, as part of his version of the word-book to Mendelssohn's Lobgesang, or Hymn of Praise, 1843, p. 89. This form has passed into a number of hymnals, including the New Congregational Hymn Book, 1859; Dale's English Hymn Book 1874, and others. In the Baptist Hymnal, 1879, a tr. of st. ii. is added, of which 11. 1—4 are from Miss Winkworth's translation. 2. Now praise the Lord on high. In full as No. 53 in the Dalston Hospital Hymn Book, 1848. This appears to be the version which Kübler, in his Historical Notes to the Lyra Germanica, 1865, p. 247, says was made by Baron C. K. J. von Bunsen, for the opening of the German Hospital at Dalston, on Oct. 15, 1845. 3. Now let us all to God. In full, by A. T. Russell, as No. 201, in his Psalms & Hymns, 1851. 4. 0 let us praise the Lord, From hearts by true love guided. This is No. 240 in the Winchester Church Hymn Book, 1857, and seems to be intended as a paraphrase of the German. 5. Now thank we all our God. A full and very good translation by Miss Winkworth, in her Lyra Germanica, 2nd Serv. 1858, p. 145, repeated in her Chorale Book for England, 1863, No. 11, and her Christian Singers, 1869, p. 181. It has been included in many recent English and American hymnals, e. g. Hymns Ancient & Modern, 1861; People's Hymnal, 1867; Congregational Hymnal, 1887, &c, and in America in the Episcopal Hymnal, 1871; Presbyterian Hymnal, 1874, and many others, generally in full and unaltered. 6. Now all give thanks to God. In full as No. 264 in the Anglican Hymn Book, 1868 (1871, No. 307), marked as a versification by R. C. Singleton. Repeated in J. L. Porter's Collection, 1876. 7. Now all men thank ye God. In full by T. E. Brown, as No. 37 in the Clifton College Hymn Book, 1872. Other translations are:— (l) "Now let us praise the Lord." In full by J. C. Jacobi, 1722, p. 85 (1732, p. 144), repeated, altered, in the Moravian Hymn Book, 1754 to 1886. (2) "Now all, to God give thanks." By Dr. H. Mills, in the Evangelical Review, Gettysburg, 1851, p. 293, and his Horae Germanica, 1856, p. 14. (3) "Lift heart, and hands, and voice." By Miss Cox, 1864, p. 239. (4) “Now all give thanks to God." By J. D. Burns, 1869, p. 252. (5) “All hearts and tongues and hands." By N. L. Frothingham, 1870, p. 212. iii. So fahr ich hin mit Freuden. For the Dying. In his Meissnische Thränen-Saat, 1637, No. 24, p. 19, in 5 st.anzas of 8 lines, entitled "Even the same, and her soul-rejoicing Farewell Hymn. On May 8." St. i. is, "So fahr ich hin mit Frewden Aus diesem Jammerthal, Aus Angst, Gefahr und Leiden In Himmels-Frewden Saal, Da wir und alle Frommen Durch Gottes Wundermacht Zusaminen wiederkominen: In des zu guter Nacht." The title refers to the preceding hymn, which is in 19 stanzas, the initials of the stanzas forming the acrostic Christina Rinckardi. Dr. Linke abridges it and misprints the title, which is:— "Die Teutsche Jobs-Schwester (Christina M. Rinckart's Hertzgetrewe Ehe- und Creutz-genossin) und ihr Tagliches und behägliches Trost Lied. Aus ihrem längst erwählten und am 10. [not 30] Tage des Trosthühlen Meyen dieses 1637. Jahres zum letzten Ehrengedächtniss abgehandelten Leich-Text: des 77. Psalms." From this it is clear that both hymns are in memory of his wife, that she died on May 8, 1637, and that her funeral sermon was preached by her husband on May 10, 1637. The form translation into English is the greatly altered, or rather practically new text. [Rev. James Mearns, M.A.] * His own statement was that he “was born Anno 1586, Jubilate Sunday, on St. George's day, which was the 23rd of April, between 6 and 7 a.m." In 1586 however Jubilate S. (3rd Sunday after Easter) fell on April 24, while St. George's day is April 23. The entry in the Registers at Eilenburg says that he was baptised "Monday after Jubilate, the 25th of April," which is quite correct. --John Julian, Dictionary of Hymnology (1907)

William Henry Draper

1855 - 1933 Person Name: William H. Draper Hymnal Number: 86 Translator of "All Creatures of Our God and King" in Songs for Life Draper, William Henry, M.A., son of Henry and Lucy Mary Draper, was born at Kenilworth, Dec. 19, 1855, and educated at Keble College, Oxford; B.A. in honours, M.A. 1880. Ordained in 1880, he was Curate of St. Mary's, Shrewsbury; Vicar of Alfreton; of the Abbey Church, Shrewsbury; and since 1899 Rector of Adel, Leeds. Mr. Draper's hymns in common use include the following:— 1. Come forth, ye sick and poor. [Harvest.] Written in 1001 and printed in the Guardian, Sept. 18, 1901. In 1905 it was given, somewhat altered, in The Council School Hymn Book, No. 132. It was also published by Novello & Co., with Music by J. H. Maunder. 2. From homes of quiet peace. [In Time of War.] Published by Novello & Co. in their series of Hymns in Time of War, 1900, and repeated in The Public School Hymn Book 1903, The Council School Hymn Book, 1905, and others. 3. How blest the land where God is known. (National Hymn.] Written for Novello's Eight Hymns, with Tunes , for use in services held in connection with the Coronation of King Edward VII., in 1902. It was included in The Council School Hymn Book, 1905, No. 91. 4. How fair was the land of God's people of old. [National Hymn.] Written for use in Day Schools, and rir»t published in The Council School Hymn Book, 1905, No. 121. 5. In our day of thanksgiving one psalm let us offer. [Dedication of a Church.] Written for use at the service at the reopening of the Abbey Church, Shrewsbury, after restoration, in 1894. It was also used at the Shrewsbury Church Congress, 1896; and elsewhere on other occasions. In 1904 it was included in the new edition of Hymns Ancient & Modern. 6. Lord, through this Holy Week of our Salvation. [Holy Week.] First published in Hymns for Holy Week, 1898, and included in Hymns Ancient & Modern 1904, No. 109. 7. Man shall not live by bread alone. [Divine Providence.] First published in The Church Monthly, and again in The Council School Hymn Book, 1905, No. 103. 8. Rejoice, ye angels in the sky. [Whitsuntide.] Written for the Leeds Whitsuntide Hymns, 1902 (to Gounod's tune for "O come, O come, Emmanuel"), and included in The Council School Hymn Book, 1905. 9. We love God's acre round the Church. [Burial.] Printed in the Guardian, Aug. 1, 1900, with the title, "Hymn for those who die far from home and country"; later by Novello, with music by Dr. V. Roberts; and again, with slight alterations, in Brookes's Additional Hymns, 1903. 10. What can I do for England. [National Hymn.] Written in 1905 for The Council School Hymn Book, and included therein in the same year. 11. Ye sons of God, arise. [Processional. Choral Festivals.) Written for a Choral Festival in Gloucester Cathedral, June 8th, 1893; reprinted for the Leeds Whitsuntide Hymns, 1901; and again for the Choir Festival in Chester Cathedral, 1905. In addition to these hymns which have come into common use. Mr. Draper has written many others of merit which are worthy of attention. They include:— 1. Hymns for Holy Week, being translations from Hymns of the Greek Church, with Six Originals, &c. . . . London: H. Frowde, 1898 (see No. 6 above). This contains 13 original and translated hymns. 2. The Victoria Book of Hymns, 1897. 3. A Memorial Service for them that are Fallen Asleep in Christ. London: H. Frowde, 1898, 4 hymns (including No. 9 above). 4. The Way of the Cross (Oxford: A. R. Mowbray & Co.), n.d., with music by Dr. Sweeting. Mr. Draper's hymns are so scattered in the Guardian, Church Monthly, and sundry magazines that it is a matter of some difficulty to trace them out. They exceed sixty in all, and are worthy, taken as a whole, to be published as a volume of sacred verse. --John Julian, Dictionary of Hymnology, New Supplement (1907)

J. M. Neale

1818 - 1866 Person Name: John M. Neale Hymnal Number: 161 Translator of "All Glory, Laud, and Honor" in Songs for Life John M. Neale's life is a study in contrasts: born into an evangelical home, he had sympathies toward Rome; in perpetual ill health, he was incredibly productive; of scholarly temperament, he devoted much time to improving social conditions in his area; often ignored or despised by his contemporaries, he is lauded today for his contributions to the church and hymnody. Neale's gifts came to expression early–he won the Seatonian prize for religious poetry eleven times while a student at Trinity College, Cambridge, England. He was ordained in the Church of England in 1842, but ill health and his strong support of the Oxford Movement kept him from ordinary parish ministry. So Neale spent the years between 1846 and 1866 as a warden of Sackville College in East Grinstead, a retirement home for poor men. There he served the men faithfully and expanded Sackville's ministry to indigent women and orphans. He also founded the Sisterhood of St. Margaret, which became one of the finest English training orders for nurses. Laboring in relative obscurity, Neale turned out a prodigious number of books and artic1es on liturgy and church history, including A History of the So-Called Jansenist Church of Holland (1858); an account of the Roman Catholic Church of Utrecht and its break from Rome in the 1700s; and his scholarly Essays on Liturgiology and Church History (1863). Neale contributed to church music by writing original hymns, including two volumes of Hymns for Children (1842, 1846), but especially by translating Greek and Latin hymns into English. These translations appeared in Medieval Hymns and Sequences (1851, 1863, 1867), The Hymnal Noted (1852, 1854), Hymns of the Eastern Church (1862), and Hymns Chiefly Medieval (1865). Because a number of Neale's translations were judged unsingable, editors usually amended his work, as evident already in the 1861 edition of Hymns Ancient and Modern; Neale claimed no rights to his texts and was pleased that his translations could contribute to hymnody as the "common property of Christendom." Bert Polman ======================== Neale, John Mason, D.D., was born in Conduit Street, London, on Jan. 24, 1818. He inherited intellectual power on both sides: his father, the Rev. Cornelius Neale, having been Senior Wrangler, Second Chancellor's Medallist, and Fellow of St. John's College, Cambridge, and his mother being the daughter of John Mason Good, a man of considerable learning. Both father and mother are said to have been "very pronounced Evangelicals." The father died in 1823, and the boy's early training was entirely under the direction of his mother, his deep attachment for whom is shown by the fact that, not long before his death, he wrote of her as "a mother to whom I owe more than I can express." He was educated at Sherborne Grammar School, and was afterwards a private pupil, first of the Rev. William Russell, Rector of Shepperton, and then of Professor Challis. In 1836 he went up to Cambridge, where he gained a scholarship at Trinity College, and was considered the best man of his year. But he did not inherit his father's mathematical tastes, and had, in fact, the greatest antipathy to the study; and as the strange rule then prevailed that no one might aspire to Classical Honours unless his name had appeared in the Mathematical Tripos, he was forced to be content with an ordinary degree. This he took in 1840; had he been one year later, he might have taken a brilliant degree, for in 1841 the rule mentioned above was rescinded. He gained, however, what distinctions he could, winning the Members' Prize, and being elected Fellow and Tutor of Downing College; while, as a graduate, he won the Seatonian Prize no fewer than eleven times. At Cambridge he identified himself with the Church movement, which was spreading there in a quieter, but no less real, way than in the sister University. He became one of the founders of the Ecclesiological, or, as it was commonly called, the Cambridge Camden Society, in conjunction with Mr. E. J. Boyce, his future brother-in-law, and Mr. Benjamin Webb, afterwards the well-known Vicar of St. Andrew's, Wells Street, and editor of The Church Quarterly Review. In 1842 he married Miss Sarah Norman Webster, the daughter of an evangelical clergyman, and in 1843 he was presented to the small incumbency of Crawley in Sussex. Ill health, however, prevented him from being instituted to the living. His lungs were found to be badly affected; and, as the only chance of saving his life, he was obliged to go to Madeira, where he stayed until the summer of 1844. In 1846 he was presented by Lord Delaware to the Wardenship of Sackville College, East Grinstead. This can hardly be considered as an ecclesiastical preferment, for both his predecessor and his successor were laymen. In fact the only ecclesiastical preferment that ever was offered to him was the Provostship of St. Ninian's, Perth. This was an honourable office, for the Provostship is equivalent to a Deanery in England, but it was not a lucrative one, being worth only £100 a year. He was obliged to decline it, as the climate was thought too cold for his delicate health. In the quiet retreat of East Grinstead, therefore, Dr. Neale spent the remainder of his comparatively short life, dividing his time between literary work, which all tended, directly or indirectly, to the advancement of that great Church revival of which he was so able and courageous a champion, and the unremitting care of that sisterhood of which he was the founder. He commenced a sisterhood at Rotherfield on a very small scale, in conjunction with Miss S. A. Gream, daughter of the rector of the parish; but in 1856 he transferred it to East Grinstead, where, under the name of St. Margaret's, it has attained its present proportions. Various other institutions gradually arose in connection with this Sisterhood of St. Margaret's, viz., an Orphanage, a Middle Class School for girls, and a House at Aldershot for the reformation of fallen women. The blessing which the East Grinstead Sisters have been to thousands of the sick and suffering cannot here be told. But it must be mentioned that Dr. Neale met with many difficulties, and great opposition from the outside, which, on one occasion, if not more, culminated in actual violence. In 1857 he was attending the funeral of one of the Sisters at Lewes, when a report was spread that the deceased had been decoyed into St. Margaret's Home, persuaded to leave all her money to the sisterhood, and then purposely sent to a post in which she might catch the scarlet fever of which she died. To those who knew anything of the scrupulously delicate and honourable character of Dr. Neale, such a charge would seem absurd on the face of it; but mobs are not apt to reflect, and it was very easy to excite a mob against the unpopular practices and sentiments rife at East Grinstead; and Dr. Neale and some Sisters who were attending the funeral were attacked and roughly handled. He also found opponents in higher quarters; he was inhibited by the Bishop of the Diocese for fourteen years, and the Aldershot House was obliged to be abandoned, after having done useful work for some years, in consequence of the prejudice of officials against the religious system pursued. Dr. Neale's character, however, was a happy mixture of gentleness and firmness; he had in the highest degree the courage of his convictions, which were remarkably definite and strong; while at the same time he maintained the greatest charity towards, and forbearance with, others who did not agree with him. It is not surprising, therefore, that he lived all opposition down; and that, while from first to last his relations with the community at East Grinstead were of the happiest description, he was also, after a time, spared any molestation from without. The institution grew upon his hands, and he became anxious to provide it with a permanent and fitting home. His last public act was to lay the foundation of a new convent for the Sisters on St. Margaret's Day (July 20), 1865. He lived long enough to see the building progress, but not to see it completed. In the following spring his health, which had always been delicate, completely broke down, and after five months of acute suffering he passed away on the Feast of the Transfiguration (Aug. 6), 1866, to the bitter regret of the little community at East Grinstead and of numberless friends outside that circle. One trait of his singularly lovable character must not pass unnoticed. His charity, both in the popular and in the truer Christian sense of the word, was unbounded; he was liberal and almost lavish with his money, and his liberality extended to men of all creeds and opinions; while it is pleasing to record that his relations with his ecclesiastical superiors so much improved that he dedicated his volume of Seatonian Poems to the bishop of the diocese. If however success in life depended upon worldly advantages, Dr. Neale's life would have to be pronounced a failure; for, as his old friend, Dr. Littledale, justly complains, "he spent nearly half his life where he died, in the position of warden of an obscure Almshouse on a salary of £27 a year." But, measured by a different standard, his short life assumes very different proportions. Not only did he win the love and gratitude of those with whom he was immediately connected, but he acquired a world-wide reputation as a writer, and he lived to see that Church revival, to promote which was the great object of his whole career, already advancing to the position which it now occupies in the land of his birth. Dr. Neale was an industrious and voluminous writer both in prose and verse; it is of course with the latter class of his writings that this sketch is chiefly concerned; but a few words must first be said about the former. I.— Prose Writings.— His first compositions were in the form of contributions to The Ecclesiologist, and were written during his graduate career at Cambridge. Whilst he was in Madeira he began to write his Commentary on the Psalms, part of which was published in 1860. It was afterwards given to the world, partly written by him and partly by his friend, Dr. Littledale, in 4 vols., in 1874, under the title of A Commentary on the Psalms, from Primitive and Mediaeval Writers. This work has been criticised as pushing the mystical interpretation to an extravagant extent. But Dr. Neale has anticipated and disarmed such criticism by distinctly stating at the commencement that "not one single mystical interpretation throughout the present Commentary is original;" and surely such a collection has a special value as a wholesome correction of the materialistic and rationalistic tendencies of the age. His next great work, written at Sackville College, was The History of the Holy Eastern Church. The General Introduction was published in 1847; then followed part of the History itself, The Patriarchate of Alexandria, in 2 vols.; and after his death another fragment was published, The History of the Patriarchate of Antioch, to which was added, Constantius's Memoirs of the Patriarchs of Antioch, translated from the Greek, edited by the Rev. G. Williams, 1 vol. The whole fragment was published in 5 vols. (1847-1873). The work is spoken very highly of, and constantly referred to, by Dean Stanley in his Lectures on the History of the Eastern Church. Dr. Neale was naturally in strong sympathy with the struggling Episcopal Church of Scotland, and to show that sympathy he published, in 1856, The Life and Times of Patrick Torry, D.D., Bishop of St. Andrews, &c, with an Appendix on the Scottish Liturgy. In the same direction was his History of the so-called Jansenist Church in Holland, 1858. Next followed Essays on Liturgiology and Church History, with an Appendix on Liturgical Quotations from the Isapostolical Fathers by the Rev. G. Moultrie, 1863, a 2nd edition of which, with an interesting Preface by Dr. Littledale, was published in 1867. It would be foreign to the purpose of this article to dwell on his other prose works, such as his published sermons, preached in Sackville College Chapel, his admirable little devotional work, Readings for the Aged, which was a selection from these sermons; the various works he edited, such as the Tetralogia Liturgica, the Sequentiae ex Missalibus Germanicis, Anglicis, Gallicis, aliisque Medii Aevi Collectae; his edition of The Primitive Liturgies of S. Mark, S. Clement, S. James, S. Chrysostom and S. Basil, with a Preface by Dr. Littledale; his Translation of the same; his many stories from Church History, his Voices from the East, translated from the Russ, and his various articles contributed to the Ecclesiologist, The Christian Remembrance, The Morning Chronicle, and The Churchman's Companion. It is time to pass on to that with which we are directly concerned. II. —Poetical Writings.— As a sacred poet, Dr. Neale may be regarded under two aspects, as an original writer and as a translator. i. Original Writer.—Of his original poetry, the first specimen is Hymns for Children, published in 1842, which reached its 10th edition the year after his death. It consists of 33 short hymns, the first 19 for the different days of the week and different parts of the day, the last 14 for the different Church Seasons. This little volume was followed in 1844 by Hymns for the Young, which was intended to be a sequel to the former, its alternative title being A Second Series of Hymns for Children; but it is designed for an older class than the former, for young people rather than for children. The first 7 hymns are "for special occasions," as "on goiug to work," “leaving home” &c.; the next 8 on "Church Duties and Privileges," "Confirmation," "First Holy Communion," &c, the last 13 on "Church Festivals,” which, oddly enough, include the Four Ember Seasons, Rogation Days, and the Sundays in Advent. In both these works the severe and rigid style, copied, no doubt, from the old Latin hymns, is very observable. Perhaps this has prevented them from being such popular favourites as they otherwise might have been; but they are quite free from faults into which a writer of hymns for children is apt to fall. They never degenerate into mere prose in rhyme; and in every case the purity as well as the simplicity of their diction is very remarkable. In the same year (1844) he also published Songs and Ballads for Manufacturers, which were written during his sojourn in Madeira, and the aim of which (he tells us) was "to set forth good and sound principles in metaphors which might, from their familiarity, come home to the hearts of those to whom they were addressed." They are wonderfully spirited both in matter and manner, and their freedom of style is as remarkable as the rigidity of the former works. They were followed eleven years later (1855) by a similar little work entitled Songs and Ballads for the People. This is of a more aggressive and controversial character than the previous ones, dealing boldly with such burning questions as "The Teetotallers," "Why don't you go to Meeting?" &c. Passing over the Seatonian Poems, most of which were of course written before those noticed above, we next come to the Hymns for the Side, which is a fitting companion to the Readings for the Aged, and then to Sequences, Hymns, and other Ecclesiastical Verses, which was published just after the author's death (1866), and may be regarded as a sort of dying legacy to the world. In fact, the writer almost intimates as much in the preface, where he speaks of himself as "one who might soon be called to have done with earthly composition for ever." Many of the verses, indeed, were written earlier, "forty years ago," he says, which is evidently intended for twenty. The preface is dated "In the Octave of S. James, 1866," and within a fortnight, on the Feast of the Transfiguration, “the veil” (to use the touching words of his old friend, Dr. Littledale) "was withdrawn from before his eyes, and the song hushed on earth is now swelling the chorus of Paradise." Was it an accident that these verses dwell so much on death and the life beyond the grave? or did the coming event cast its shadow before? Not that there is any sadness of tone about them; quite the reverse. He contemplates death, but it is with the eye of a Christian from whom the sting of death has been removed. Most of the verses are on subjects connected with the Church Seasons, especially with what are called the "Minor Festivals:" but the first and last poems are on different subjects. The first, the "Prologue," is "in dear memory of John Keble, who departed on Maundy Thursday, 1866, "and is a most touching tribute from one sacred poet to another whom he was about to follow within a few months to the "land that is very far off." The last is a poetical version of the legend of "the Seven Sleepers of Ephesus," and is, the writer thinks, "the first attempt to apply to primitive Christianity that which is, to his mind, the noblest of our measures." That measure is the hexameter, and undoubtedly Dr. Neale employed it, as he did all his measures, with great skill and effect; but it may be doubted whether the English language, in which the quantities of syllables are not so clearly defined as in Latin and Greek, is quite adapted for that measure. Throughout this volume, Dr. Neale rises to a far higher strain than he had ever reached before. ii. Translations.— It is in this species of composition that Dr. Neale's success was pre-eminent, one might almost say unique. He had all the qualifications of a good translator. He was not only an excellent classical scholar in the ordinary sense of the term, but he was also positively steeped in mediaeval Latin. An anecdote given in an appreciative notice by "G. M." [Moultrie] happily illustrates this:— Dr. Neale "was invited by Mr. Keble and the Bishop of Salisbury to assist them with their new hymnal, and for this purpose he paid a visit to Hursley Parsonage." On one occasion Mr. Keble "having to go to another room to find some papers was detained a short time. On his return Dr. Neale said, ‘Why, Keble, I thought you told me that the "Christian Year" was entirely original.' ‘Yes,' he answered, 'it certainly is.' ‘Then how comes this?' and Dr. Neale placed before him the Latin of one of Keble's hymns. Keble professed himself utterly confounded. He protested that he had never seen this 'original,' no, not in all his life. After a few minutes Neale relieved him by owning that he had just turned it into Latin in his absence." Again, Dr. Neale's exquisite ear for melody prevented him from spoiling the rhythm by too servile an imitation of the original; while the spiritedness which is a marked feature of all his poetry preserved that spring and dash which is so often wanting in a translation. (i.) Latin.— Dr. Neale's translations from the Latin include (1.) Mediaeval Hymns and Sequences (1851). He was the, first to introduce to the English reader Sequences, that is, as he himself describes them, " hymns sung between the Epistle and Gospel in the Mass," or, as he explains more definitely, "hymns whose origin is to be looked for in the Alleluia of the Gradual sung between the Epistle and the Gospel." He was quite an enthusiast about this subject:— "It is a magnificent thing,” he says, "to pass along the far-stretching vista of hymns, from the sublime self-containedness of S. Ambrose to the more fervid inspiration of S. Gregory, the exquisite typology of Venantius Fortunatus, the lovely painting of St. Peter Damiani, the crystal-like simplicity of S. Notker, the scriptural calm of Godescalcus, the subjective loveliness of St. Bernard, till all culminate in the full blaze of glory which surrounds Adam of S. Victor, the greatest of them all." Feeling thus what a noble task he had before him, it is no wonder that he spared no pains over it, or that he felt it his duty to adopt "the exact measure and rhyme of the original, at whatever inconvenience and cramping." That he succeeded in his difficult work, the verdict of the public has sufficiently proved. Of all the translations in the English language no one has ever been so popular as that of the Hora Novissima, in this volume, afterwards (1858) published separately, under the title of the Rhythm of Bernard de Morlaix, Monk of Cluny. Some original hymns may be as well known as "Jerusalem the Golden," "For thee, O dear, dear country," or "Brief life is here our portion,” but it would be hard to find any translations which come near them for extensive use. A second edition of the Mediaeval Hymns, much improved, came out in 1863, and a third, "with very numerous additions and corrections," in 1867. (2.) We next come to the Hymnal Noted, in which 94 out of the 105 hymns are the work of Dr. Neale. These are all translations from the Latin. The first part appeared in 1852, the second in 1854. Dr. Neale has himself given us an interesting account of his connection with this work:— "Some," he writes, "of the happiest and most instructive hours of my life were spent in the Sub-Committee of the Ecclesiological Society, appointed for the purpose of bringing out the Second Part of the Hymnal Noted It was my business to lay before them the translations I had prepared, and theirs to correct. The study which this required drew out the beauties of the original in a way which nothing else could have done, and the friendly collisions of various minds elicited ideas which a single translator would in all probability have missed." Preface, Mediaeval Hymns & Sequences (3.) The last volume of translations from the Latin published by Dr. Neale appeared in 1865, under the title of Hymns, chiefly Mediaeval, on the Joys and Glories of Paradise. It was intended to be a companion volume to the Rhythm of Bernard of Cluny. In this work the writer gives the general reader an opportunity of comparing the translation with the original by printing the two together in parallel pages. Before quitting the subject of Dr. Neale's translations from the Latin, it is only fair to notice that while they have been almost universally accepted by the English Church, and some of them adopted by dissenting congregations, they called down upon the translator a storm of indignation from an opposite quarter. The Roman Catholics accused him of deliberate deception because he took no pains to point out that he had either softened down or entirely ignored the Roman doctrines in those hymns. So far, they said, as the originals were concerned, these translations were deliberate misrepresentations. As however the translations were intended for the use of the Anglican Church, it was only to be expected that Neale should omit such hymns or portions of hymns as would be at variance with her doctrines and discipline. (ii.) Greek.— Dr. Neale conferred even a greater boon upon the lovers of hymnology than by his translations from the Latin, when he published, in 1862, his Hymns of the Eastern Church. In his translations from the Latin he did what others had done before; but in his translations from the Greek he was opening entirely new ground. "It is," he says in his preface to the first edition, "a most remarkable fact, and one which shows how very little interest has been hitherto felt in the Eastern Church, that these are literally, I believe, the only English versions of any part of the treasures of Oriental Hymnology." As early as 1853 he had printed a few of his versions in The Ecclesiastic, but it was not till the appearance of the complete volume that the interest of the general public was awakened in them. Then they became wonderfully popular. His translations "Christian, dost thou see them?" "The day is past and over," "'Tis the day of Resurrection," and his Greek-inspired "Art thou weary," and "O happy band of pilgrims," are almost as great favourites as "Jerusalem the golden," and the first in his Hymns of the Eastern Church, "Fierce was the wild billow," deserves to be. Dr. Neale had a far more difficult task before him when he undertook these Greek hymns than he had with the Latin, and he appeals to the reader "not to forget the immense difficulty of an attempt so perfectly new as the present, when I have had no predecessors and therefore could have no master." That difficulty in comparison with the Latin cannot be better stated than in his own words:— "Though the superior terseness and brevity of the Latin hymns renders a translation which shall represent those qualities a work of great labour, yet still the versifier has the help of the same metre; his version may be line for line; and there is a great analogy between the collects and the hymns, most helpful to the translator. Above all, we have examples enough of former translation by which we may take pattern. But in attempting a Greek canon, from the fact of its being in prose (metrical hymns are unknown) one is all at sea. What measure shall we employ? Why this more than that? Might we attempt the rhythmical prose of the original, and design it to be chanted? Again, the great length of the canons renders them un suitable for our churches as wholes. Is it better simply to form centos of the more beautiful passages? or can separate odes, each necessarily imperfect, be employed as separate hymns? . . . My own belief is that the best way to employ Greek hymnology for the uses of the English Church would be by centos." That, in spite of these difficulties, Dr. Neale succeeded, is obvious. His Greek hymns are, indeed, adaptations rather than translations; but, besides their intrinsic beauty, they at any rate give some idea of what the Greek hymn-writers were. In this case, as in his translations from the Latin, he omitted what he held was not good from his Anglican point of view, e.g., the Doxologies to the Blessed Virgin Mary. One point strikes us as very remarkable in these hymns, and indeed in all Dr. Neale's poetry, viz., its thorough manliness of tone. Considering what his surroundings were, one might have expected a feminine tone in his writings. Dr. Littledale, in his most vivid and interesting sketch of Dr. Neale's life, to which the present writer is largely indebted, has remarked the same with regard to his teaching: "Instead of committing the grave error of feminising his sermons and counsels [at St. Margaret's] because he had only women to deal with, he aimed at showing them the masculine side of Christianity also, to teach them its strength as well as its beauty." In conclusion, it may be observed that no one had a higher opinion of the value of Dr. Neale's labours in the field of ancient and mediaeval hymnology than the one man whose competency to speak with authority on such a point Dr. Neale himself would assuredly have rated above that of all others. Over and over again Dr. Neale pays a tribute to the services rendered by Archbishop Trench in this domain; and the present sketch cannot more fitly close than with the testimony which Archbishop Trench has given of his sense of the services rendered by Dr. Neale. The last words of his preface to his Sacred Latin Poetry (ed. 1864) are:—" I will only, therefore, mention that by patient researches in almost all European lands, he [Dr. Neale] has brought to light a multitude of hymns unknown before: in a treatise on sequences, properly so-called, has for the first time explained their essential character; while to him the English reader owes versions of some of the best hymns, such as often successfully overcome the almost insuperable difficulties which many among them present to the translator." [Rev. J. H. Overton, D.D.] Dr. Neale's original hymns and translations appeared in the following works, most of which are referred to in the preceding article, and all of which are grouped together here to facilitate reference:— (1) Hymns for Children. Intended chiefly for Village Schools. London, Masters, 1842. (2) Hymns for the Sick. London, Masters, 1843, improved ed. 1849. (3) Hymns for the Young. A Second Series of Hymns for Children. London, Masters, 1844. (4) Songs and Ballads for Manufacturers. London, Masters, 1844. (5) Hymns for Children. A Third Series. London, Masters, 1846. (6) Mediaeval Hymns and Sequences. London, Masters. 1851; 2nd ed. 1861; 3rd. ed. 1863. (7) Hymnal Noted. London, Masters & Novello, 1852: enlarged 1854. Several of the translations were by other hands. Musical editions edited by the Rev. T. Helmore. It is from this work that a large number of Dr. Neale's translations from the Latin are taken. (8) Carols for Christmas and Eastertide. 1853. (9) Songs and Ballads for the People. 1855. (10) The Rhythm of Bernard de Morlaix, Monk of Cluny, on the Celestial Country. London, Hayes, 1st ed. 1858: 3rd ed., with revision of text, 1861. It contains both the Latin and the English translation. (11) Hymns of The Eastern Church, Translated with Notes and an Introduction. London, Hayes, 1862: 2nd ed. 1862: 3rd ed. 1866 : 4th ed., with Music and additional notes, edited by The Very Rev. S. G. Hatherly, Mus. B., Archpriest of the Patriarchal (Ecumenical Throne. London, Hayes, 1882. Several of these translations and notes appeared in The Ecclesiastic and Theologian, in 1853. (12) Hymns, Chiefly Mediaeval, on the Joys and Glories of Paradise. London, Hayes, 1865. This work contains notes on the hymns, and the Latin texts of the older amongst them. (13) Original Sequences, Hymns, and other Ecclesiastical Verses. London, Hayes, 1866. This collection of Original verse was published posthumously by Dr. Littledale. In addition to these works Dr. Neale published collections of Latin verse as:— 1.) Hymni Ecclesiae e Breviariis quibusdam et Missalibus Gallicanis, Germanis, Hispanis, Lusitanis, desumpti. Oxford & Lond. J. H. Parker, 1851: and (2) Sequentiae e Missalibus Germanicis, Anglicis, Gallicis, aliisque Medii Aevi collectae. Oxford & Lond. J. H. Parker, 1852. A few of his translations appeared from time to time in The Ecclesiastic; and a few of his original hymns in The Christian Remembrancer. In the collection compiled for use at St. Margaret's, East Grinstead, St. Margaret's Hymnal, Printed Privately for the use of the Community only, 1875, there are several of his hymns not traceable elsewhere. [Many of his translations and original compositions are not listed here]. Some of the original hymns in common use which remain to be noted are:— i. From Hymns for Children, 1842. 1. No more sadness now, nor fasting. Christmas. 2. 0 Thou, Who through this holy week. Passiontide. 3. The day, 0 Lord, is spent. Evening. 4. The grass so green, the trees so tall. Morning of the Third Day. 5. Thou art gone up, 0 Lord, on high. Evening. 6. Thou, Who earnest from above. Whitsuntide. 7. With Thee, 0 Lord, begins the year. Circumcision, or, the New Year. ii. From Hymns for the Sick, 1843. 8. By no new path untried before. Support in Sickness. 9. Count not, the Lord's Apostle saith. Communion of the Sick. 10. Lord, if he sleepeth, he shall sure do well. Watching. 11. 0 Thou, Who rising long before the day. In a sleepless Night. 12. The Lord hath given, the Lord hath taken away. Death and Burial. 13. There is a stream, whose waters rise. In dangerous Sickness or Fever. 14. They slumber not nor sleep. Guardian Angels. 15. Thy servants militant below. In Affliction. iii. From Hymns for the Young, 2nd series, 1844. 16. Lord Jesus, Who shalt come with power. Ember Week in Advent. 17. 0 God, in danger and distress. In time of Trouble. 18. 0 God, we raise our hearts to Thee. Ember-Week in Advent. From this, "0 Lord, we come before Thee now” is taken. 19. 0 God, Who lovest to abide. Dedication of a Church. 20. 0 our Father, hear us now. Rogation. The first of three hymns on The Lord's Prayer. 21. 0 Saviour, Who hast call'd away. Death of a Minister. 22. 0 Thou, Who lov'st to send relief. In Sickness. 23. 0 Thou, Who once didst bless the ground. Ember-Week in September. 24. 0 Thou, Who, when Thou hadst begun. On going to Work. 25. Still, 0 Lord of hosts, we share. Rogation. The Second of his hymns on The Lord's Prayer. 26. Strangers and pilgrims here below. On entering a new Dwelling to reside there. 27. They whose course on earth is o'er. Communion of Saints. From this, "Those whom many a land divides," is taken. 2S. Till its holy hours are past. Rogation. The third of his hymns on The Lord's Prayer. iv. Songs and Ballads for Manufacturers, 1844. 29. Work is over; God must speed it. Evening. v. Hymns for Children, 3rd series, 1846. 30. Before Thy Face, 0 God of old. St. John the Baptist. 31. By pain, and weariness, and doubt. St. Stephen. 32. First of the twelvefold band that trod. St. James. 33. Four streams through happy Eden flow'd. St. Mark. 34. Is there one who sets his face. St. Bartholomew. From this "He, for man who suffered woe," is taken. 35. Not a single sight we view. St. Matthias. 36. 0 Great Physician of the soul. St. Luke. 37. 0 Heavenly Wisdom, hear our cry. Christmas. “0 Sapientia." 38. 0 Key of David, hailed by those. Christmas. "0 Clavis David." 39. 0 Root of Jesse, Thou on Whom. Christmas. “O Radix Jesse." 40. 0 Thou, on Whom the nations [Gentiles] wait. Christmas. "0 Rex Gentium." 41. 0 Thou, Who earnest down of old [to call] . Christmas. "0 Adonai." 42. 0 Thou, Whose Name is God with us. Christmas. "0 Emmanuel." 43. 0 Very God of Very God. Christmas. "0 Oriens." 44. Saints of God, whom faith united. SS. Simon and Jude. 45. Since the time that first we came. St. Andrew. From this, "Every bird that upward springs," is taken. 46. That love is mighty love indeed. St. Barnabas. 47. We cannot plead, as others may. St. Matthew. 48. We have not seen, we cannot see. St. Thomas. 49. Would we go when life is o'er? St. Peter. v. Carols for Christmas and Eastertide. 1853. 50. Gabriel's message does away. Christmas. 51. Joy and gladness be to king and peasant. Christmas. 52. Joy to thee, joy to thee, Day of our victory. Easter. 53. Sing Alleluia, all ye lands. Easter. 54. The world itself keeps Easter Day. Easter. From this "There stood three Marys by the tomb," is taken. 55. With Christ we share a mystic grave. Easter or Holy Baptism. vi. From Sequences, Hymns, &c, 1866. 56. Can it, Master, can it be? Maundy Thursday. 57. Need it is we raise our eyes. All Saints. 58. Prostrate fell the Lord of all things. Maundy Thursday. 59. Rear the column, high and stately. All Saints. 60. The Paschal moonlight almost past. Easter. 61. Though the Octave-rainbow sometimes. Low Sunday. 62. When the earth was full of darkness. St. Margaret. 63. Young and old must raise the lay. Christmas Carol. vi. From the St. Margaret's Hymnal, 1875. 64. O gracious God, Who bid'st me now. On Leaving Some. 65. Thou Who came to save Thy people. For a School. 66. Thy praise the holy Infants shewed. Holy Innocents. These 66 hymns now in common use by no means represent Dr. Neale's position in modern hymnody. Many others must be added thereto. Even then, although the total is very large, it but feebly represents and emphasises the enormous influence which Di. Neale has exercised over modern hymnody. --John Julian, Dictionary of Hymnology (1907)

Daniel L. Schutte

b. 1947 Hymnal Number: 243 Author of "Here I Am, Lord" in Songs for Life

L. O. Emerson

1820 - 1915 Person Name: Luther O. Emerson Hymnal Number: 235 Harmonizer of "AR HYD Y NOS" in Songs for Life Luther Orlando Emerson was born at Parsonsfield, Maine, August 3, 1820. He descended from distinguished English ancestry. His parents were quite musical, and while the family circle were together, they had a choir and orchestra of their own. The father played the violoncello, the mother was an excellent singer, the flute and violin added their sweet tones, till the quiet homestead rang with melody. Mr. Emerson's education was obtained at the district school, Parsonsfield Seminary and Effingham Academy. He was full of energy, quick and versatile, an apt scholar, and with a view to entering the profession of medicine he entered Dracut Academy, Mass. But his great love for music swerved him from that course, and now, having far better opportunities for cultivating and enjoying this taste and ability, he soon determined upon music as the profession of his choice. He accordingly commenced a course of musical instruction under the late I. B. Woodbury, then a popular teacher of music. After several years of study on the voice, piano, organ and in harmony, Mr. Emerson went to Salem, Mass., began teaching, and took charge of his first choir at a salary of one hundred dollars per year. Here he commenced the composition of music for his own choir, whiich was so popular with its members and the congregation, that Mr. Emerson was encouraged to seek a larger hearing by publishing a collection of church music. Among the tunes was that of Sessions, named after his pastor, which was destined to have a perennial popularity, and is often used in worship in the place of Old Hundred, for the Doxology. At the great Peace Jubilee it was received with applause when sung by a chorus of ten thousand voices, accompanied by an orchestra of two hundred instruments and a great pipe organ. The effect was sublime beyond expression. In 1847 occurred the marriage of Mr. Emerson to Miss Mary Gore, daughter of a prominent Boston merchant. She was a lady of much musical taste and ability. In 1853 he decided to make an effort to put his music before the public, and accordingly went to Boston in search of a publisher. Like most young and unknown authors, he met with but little encouragement, but finally found a publisher in the person of Mr. B. B. Muzzy. Thus was the Romberg Collection published. The book was not pushed — hence it found no market. After a residence of eight years in Salem, Mr. Emerson removed to Boston, accepting the position of organist and musical director at the Bulfinch Street Church, then under the pastoral care of Rev. Wm. R. Alger, which he filled for four years. He eagerly improved the rare means of culture which were once more enjoyed, meanwhile teaching and composing music. In 1857 he formed the connection with Oliver Ditson Company, of Boston, of author and publisher, which has continued to the present time with but one interruption (a single volume brought out by another firm), the Golden Wreath, which at once became popular, and sold forty thousand during the first year, this being the initial volume in the long series since brought out by these publishers. In 1858 came the Golden Harp, which was also a success. These successes gave him not only encouragement, but reputation. Mr. Emerson now entered upon a career of usefulness and popularity for which he had been preparing during the years of self-denying struggle and discipline. He was called to take charge of the music in the Second Congregational Church, Greenfield, Mass., and also of the musical department of Power's Institute, at Bernardston. Amid nature's most beautiful surroundings, he had a quiet retreat for the pursuit of his true vocation, the composition of church music. The first fruit of his genius here was the Sabbath Harmony, in 1860. This book was also a success. In 1863 followed the Harp of Judah, which had the remarkable sale of nearly fifty thousand copies in the first three months. This book probably gave Mr. Emerson his preeminence as a composer of church music, containing as it did his anthem, Guide Me, O Thou Great Jehovah, and many of his finest compositions. Having declined the solicitations of Dr. Lowell Mason to become his associate in music, Mr. Emerson started forth on his own plans, and attained the highest rank among those who loved the pure and beautiful in song. Mr. W. S. B. Mathews, a musical critic, pronounces him the best melodist of all the psalmodic writers. In 1866 the equally successful Jubilate appeared, followed by the Choral Tribute, the Standard and the Leader. In the last two Dr. I. R. Pahner was associated with him. Later on came the Salutation, Voice of Worship, Herald of Praise, etc. The diligence with which Mr. Emerson plied his pen can be estimated when one recalls the fact that he has made seventy-two collections of music, embracing music for churches, singing schools, public schools, choral societies and conventions, instruction books for voice, organ, etc. He has also composed and published scores of songs, quartets and instrumental pieces. The great amount of work this represents can only be appreciated by those who have undertaken similar labors. Some years ago the degree of Doctor of Music was conferred upon Professor Emerson by the Faculty of Findlay College, Findlay, Ohio. For many years past. Dr. Emerson has devoted his energies to the grand purpose of elevating the general character of music in our churches, and thus largely advancing the interests of true worship. He places great stress upon the mission of church music. He regards sacred music as the best expression of devotional feeling that exists. He looks upon sacred song as prayer, and believes that it inspires and intensifies prayer. With this view he has taken an active and prominent part in musical festivals and conventions, of which he has conducted over three hundred throughout the United States and Canada. As a conductor, he stands in the front rank. As a teacher. Dr. Emerson has an exceedingly happy faculty of imparting in a concise manner to his classes. His very pleasing address enables him to command the undivided attention of his pupils. As a singer, he has always held high rank, and has sung much in public. His voice is a baritone of great compass, and quite powerful. As a lecturer upon music, Dr. Emerson has attracted much attention. His most popular lecture is entitled The World of Music, in which he traces its origin and progress, and gives some excellent traits of the lives of the great composers. In this lecture he also shows the design of music, and how it has been prized in every age of the world, among all nations — its power in the Church and State, and the need of its influence in the family — in joy and sorrow — for this life and the life to come. -Biography of Gospel Song and Hymn Writers

D. T. Niles

1908 - 1970 Person Name: Daniel Thambyrapah Niles Hymnal Number: 55 Translator of "Father in Heaven" in Songs for Life

Emily R. Brink

b. 1940 Hymnal Number: 61 Harmonizer of "JESUS LOVES ME" in Songs for Life Emily R. Brink is a Senior Research Fellow of the Calvin Institute of Christian Worship and Adjunct Professor of Church Music and Worship at Calvin Theological Seminary, Grand Rapids, Michigan. Her main areas of responsibility are conference planning and global resources. She is program manager of the annual Calvin Symposium on Worship, which draws more than 70 presenters and 1600 participants from around the world. She also travels widely to lecture and to learn about worship in different parts of the world, especially in Asia, where she has lectured in Bangladesh, China, Hong Kong, India, Indonesia, Japan, Nepal, Pakistan, Philippines, Singapore, and Taiwan. Her areas of interest include congregational song from all times and places; psalmody; hymnal editing. She was editor of four hymnals and consults with a wide range of churches on worship renewal issues. Dr. Brink is active in the American Guild of Organists, serving in both local and national offices, as well as in the Hymn Society in the United States and Canada (president from 1990 1992) and named a Fellow of the Hymn Society in 2004 in recognition of distinguished services to hymnody and hymnology. --internal.calvinseminary.edu/

Richard Gillard

b. 1953 Hymnal Number: 248 Author of "The Servant Song" in Songs for Life Gillard, Richard. (Malmesbury, Wiltshire County, England, May 22, 1953- ). The eldest of six children, he emigrated to New Zealand with his family when he was three years old. Writes, "I've had almost no formal musical training. I'm a self-taught guitarist and play mostly in a folk style." Regarding "The Servant Song," he says it "was first published in 1978 on a record album by Scripture in Song called "Father Make Us One" and has appeared subsequently in other Scripture in Song publications including a song book entitled "Songs of Praise" which is widely used by New Zealand congregations. It has also been recorded by the St. Pauls Singers of St Pauls Anglican Church. This album, called New Harvest introduces songs and hymns from their own songbook of the same name." --Letter from Richard Gillard to Mary Louise VanDyke, 25 March 1987, DNAH Archives